The apintie drum deserves greater cultural appreciation and recognition. This is according to Orlando Ceder, founder and artistic director of Black Harmony. After two years, the music group has returned to Suriname and is using the performances to also draw attention to the preservation and development of Afro-Surinamese musical culture.
During a press conference at the 22 Jazz Club & Prisiri Lounge, Ceder stressed that the significance of the apintie extends beyond the functions with which the instrument is often associated. “The apintie is not only an instrument for communication or rituals, but also an instrument for making music,” he said.
In addition to his work with Black Harmony, Ceder is involved in research and documentation on Afro-Surinamese music history. According to him, the apintie was pushed into the background and demonised in the coastal plain during the colonial period, while certain traditions have been better preserved in the interior. He believes the instrument deserves the same appreciation as other musical instruments worldwide.
Tradition as a basis for development
This attention to musical heritage is also reflected in Black Harmony’s approach. The group wants to promote the music with respect, but according to Ceder does not adhere exclusively to traditional forms of performance. The members write their own songs, in which the lyrics convey a clear message.
For Ceder, performing in Suriname therefore has a special significance. “What makes this tour different from our performances in the Netherlands is that we are performing in the country where these musical styles originated,” he said.
Black Harmony will perform at Theater Thalia in Paramaribo on Saturday 10 and Sunday 11 October. The performances once again offer the Surinamese public an opportunity to see the group live.
The group is also preparing an anniversary book about its history and development. With it, Black Harmony aims to document its own musical journey and contribute to the preservation of Afro-Surinamese musical culture.
Practical obstacles for cultural productions
In addition to cultural recognition, Ceder draws attention to the circumstances under which artists organise productions in Suriname. According to him, insufficient digitalisation, cash payments and the not always efficient handling of matters make organising complicated.
“There really needs to be a digital and automated system. That would particularly help artists who want to stage productions here,” he said. According to Ceder, better digital infrastructure could simplify the work of artists and organisers.
According to the artistic director, Black Harmony’s return has been made possible by belief in the project and the willingness to take financial risks. He also indicated that upon arriving in Suriname, he had missed a welcome and expression of appreciation from cultural institutions.
Despite that disappointment, the group is looking forward to the performances at Thalia and further cooperation with the Surinamese cultural sector.
